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dove-tail tapestry, whose designs are more realistic and naturalistic. Whereas stylised animals within octagons are a common motif for the other textiles, dove-tail tapestries more often have a naturalistic animal or bird within a circle. A textile creator would rarely venture beyond her own village, so her imagery would have been drawn from nature and from local superstition and religion. Another influence was textile art from other cultures. For thousands of years, textiles had been traded across Europe and Asia, and pictorial designs from the Near East are known to have been imported to Sweden by the fourteenth or fifteenth century.
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have a design constructed around a central motif. Very common motifs are people, animals or birds within octagons or circles, and most permutations of creature and geometric shape are represented in the collection. Five objects in the collection depict prancing, open-mouthed deer within octagons, which is the most prized design for
Swedish textiles. One particularly elaborate bed covering has six octagons each containing pictorial scenes of people or horses. An interlocked tapestry depicts
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202:(various spellings): double interlocked tapestry, in which the weft threads interlock on the reverse of the textile, was a common technique in southern Sweden. Designs of these tapestries were typically geometrical, including stars, rosettes and octagons. Zig-zag patterns representing lightning, in a variety of colours and widths, were commonly used as both a motif and a background pattern. Interlocked tapestries mostly used
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352:, red lions, and naturalistic floral arrangements. Ascending floral lattice designs are another feature that occurs across multiple objects. This design likely reflects Italian influence. An interlaced knots motif, found it many kinds of decorative art, is exemplified by embroidered works and a knotted-pile cover in the collection. This knotted-pile weaving is thought to originate in
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than previously. The women of land-owning families, with the skills for making clothes and furnishings, thus had the leisure time and materials to make textiles with a focus on beauty rather than for use as covering. These textiles would usually be kept in a wooden chest, only brought out for special
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The hundred art works in
Khalili collection show the variety as well as the skill of Swedish textile artists. The collection is particularly strong in interlocked tapestries and dove-tail tapestries, but also has examples of the other techniques. Some of the designs are repeating patterns while some
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was an important tradition, and for each wedding the bride would demonstrate her skill by creating unique textiles with symbolic decorations. From the mid-nineteenth century onwards, the collections were mostly sold off and put to everyday use, subjecting them to wear. Only a few thousand works from
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assembled, conserved, published and exhibited by
Khalili, each of which is considered among the most important in its field. In 2008 it was described as "the only extensive collection of Swedish flatweaves outside the country". The collection consists mostly of textile panels, cushion and bed covers
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The textiles use variations of a set of design motifs, including hunt scenes, stars, and geometrical shapes. Despite this, each textile is different, varying by colour, size, positioning and combination of the motifs. Designs show a lot of similarity across the different techniques, apart from
238:, the pattern is produced by an additional set of weft threads. This is an old technique, dating back to Viking times, and was often used for the backs of textiles whose fronts were created with interlocked tapestry. There are several distinct styles of extra-weft patterning, including
367:. It depicts pairs of birds facing a tree, under the wings of a great bird, and is the only known Eastern rug with this design. Multiple Swedish textiles copied this design, possibly copying this specific rug, and one such cross-stitch embroidery is in the Khalili Collection.
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households from the mid sixteenth century to the mid eighteenth. Many tapestries from this era have been lost in war and in fires. These tapestries are usually pictorial, depicting people, animals or flowers on a dark background. Religious scenes, especially the
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Handwoven textile art flourished in Scania from the mid-eighteenth to the mid-nineteenth century. Employment in Scania was mainly in farming, and the early eighteenth century was a time of relative peace and prosperity for farmers, with far fewer
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The creators of these works were exclusively women: farmers' wives, other female members of the family, or occasionally maids. Some works bear initials, but the identity of the creators is unknown. The creation of a
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284:) were common as cushion or bed covers from the eighteenth century onwards. Coloured wool was wrapped around pairs of warp threads to create the pile surface, either by being cut or left as loops.
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224:: simple weaves with little or no pattern were normally used for parts of fabrics, including backings or foundations to which more decorative layers would be added.
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Dove-tail tapestries tend to be more pictorial and realistic than the other types of textiles, and this is reflected in the collection by tapestries depicting the
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Although the collection is not on permanent public display, public exhibitions in three countries have drawn exclusively from the collection.
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Interlocked tapestry, (Two
Reindeer in Octagons with People) from Ingelstads or Herrestads district, Scania, first half of the 19th century
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Interlocked tapestry (Women and Birds in Stars and Hearts) from
Ingelstads district, Scania, first half of the 19th century
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is a private collection of textile art assembled by the
British-Iranian scholar, collector and philanthropist
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379:"Swedish Textile Art: The Khalili Collection" February–March 1996, IK Foundation, Pildammarnas Vattentorn,
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Dove-tail tapestry (Flowers, Birds and People) from Torna district, Scania, second half of the 18th century
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930:. Nour Foundation in association with Textile & Art Publications and IK Foundation. pp. 17–225.
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957:. Nour Foundation in association with Textile & Art Publications and IK Foundation. pp. 9–15.
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987:. Nour Foundation in association with Textile & Art Publications and IK Foundation. pp. 7–8.
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Franses, Michael (1996). "The
International Appeal of Swedish Textile Art". In Hansen, Viveka (ed.).
393:"A Monument to Love: Swedish Marriage Textiles from the Khalili Collection" September–October 2003,
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Swedish textile art : traditional marriage weavings from Scania : the
Khalili collection
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Swedish textile art : traditional marriage weavings from Scania : the
Khalili collection
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Swedish textile art : traditional marriage weavings from Scania : the
Khalili collection
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515:. United Nations Educational, Scientific and Cultural Organization. 16 April 2019. Archived from
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occasions or for airing. Wealthy farms would often have a dedicated chamber for these chests.
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Hansen, Viveka (1996). "Traditional Marriage Weavings from Scania". In Hansen, Viveka (ed.).
345:(mythological horses with horns) and a linen cloth with extra-weft patterning depicts lions.
99:. The collection was built up over a period of 25 years and contains 100 works. It is one of
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477: This article incorporates text from this source, which is licensed under CC-BY-SA 3.0.
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Carriage Cushion Cover (Two Lions in Floral Roundels), Scania,
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The Marby Rug is a knotted-pile carpet found in a church in
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181:thread. This technique was common among wealthy
1019:The Art of Peace: Eight collections, one vision
147:this period survive intact to the present day.
116:Background: the high era of Swedish textile art
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53:Dror Elkvity (curator and chief co-ordinator)
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24:The Khalili Collection of Swedish Textiles
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421:"Swedish Textiles (1700 – 1900)"
1102:Hajj and the Arts of Pilgrimage
55:Viveka Hansen (special advisor)
540:"The collection is a symphony"
538:Moore, Susan (17 March 2008).
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287:Embroideries: these can be
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218:used much less frequently.
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1089:The Khalili Collections
1017:Khalili, David (2023).
457:"The Eight Collections"
388:Swedish Cultural Centre
356:because of its design.
326:Works in the collection
1263:Textile arts of Sweden
608:, pp. 21, 28, 36.
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1132:Enamels of the World
1080:Nasser David Khalili
767:, pp. 153, 166.
194:Interlocked tapestry
1258:Khalili Collections
425:Khalili Collections
272:Knotted-pile weaves
108:region of southern
75:.khalilicollections
60:Size (no. of items)
39:, late 18th century
1209:Khalili Foundation
981:Khalili, Nasser D.
871:, pp. 47, 49.
461:nasserdkhalili.com
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165:Dove-tail tapestry
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1158:Jami' al-tawarikh
1127:Spanish Metalwork
1107:Aramaic Documents
1028:978-1-52991-818-2
395:Boston University
262:("up-catch") and
256:("monk's belt"),
101:eight collections
97:Nasser D. Khalili
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81:/swedish-textiles
49:Nasser D. Khalili
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549:30 September
547:. Retrieved
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657:Hansen 1996
630:Hansen 1996
618:Hansen 1996
606:Hansen 1996
594:Hansen 1996
582:Hansen 1996
523:14 February
371:Exhibitions
342:bäckahästar
290:schattersöm
1252:Categories
994:1874780072
964:1874780072
937:1874780072
402:References
253:munkabälte
247:halvkrabba
241:krabbasnär
1237:Wikiquote
1003:990431053
973:990431053
946:990431053
354:Kållandsö
296:korsstygn
170:flamskväv
135:epidemics
104:from the
51:(founder)
383:, Sweden
365:Anatolia
361:Jämtland
306:tvistsöm
265:dukagäng
259:opphämta
45:Curators
1227:Commons
920:Sources
466:13 June
430:16 June
303:") and
199:rölakan
68:Website
1117:Kimono
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513:UNESCO
277:flossa
216:cotton
214:, and
110:Sweden
106:Scania
407:Notes
381:Malmö
230:: in
204:linen
183:Malmö
144:dowry
1023:ISBN
999:OCLC
989:ISBN
969:OCLC
959:ISBN
942:OCLC
932:ISBN
551:2019
525:2020
468:2024
432:2020
212:jute
208:hemp
179:warp
175:weft
91:The
77:.org
196:or
73:www
63:100
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